Listening to Movies: The Art of Sound Design

It is a pivotal part of the film making process, yet it often goes unnoticed, especially when done well. Sound design is a hidden art form that has evolved just as rapidly as the visual techniques behind the lens. Elements such as Foley artistry, carefully curated soundtracks, precise sound effects, voice dubbing, and nuanced volume control all play crucial roles in creating an immersive, magical movie-watching experience. From the lush soundscapes that paint the city streets in Blade Runner to the meaningful silence in A Quiet Place, the sound within film is carefully constructed to shape the world we see. Let’s explore the many aspects of sound design that powerfully enhance the images on screen.

Earlier, I mentioned Foley as one of the key elements of sound design. But what exactly is Foley? Named after sound artist Jack Foley, it refers to the recreation of everyday sound effects that are added to a film during post production. Footsteps, background chatter, birds chirping, and bustling traffic are subtle details that bring scenes to life in our favorite movies. Using props and recordings, sound artists can be found breaking glass, snapping sticks, or crashing metal together to create the perfect effects. The foley artists not only recreate sounds we recognize every day, but they also create sounds for things that only exist in the imagination. One of my favorite examples is the fell beasts the Nazgul ride in ‘Lord of the Rings’.  By recording a brash bellow from a simple donkey and then manipulating the sound using digital software in the studio, the sound artists were able to bring a vile, ravenous monster to life. Foley isn’t just a technical pursuit. The sounds need to feel right. The artist must be able to feel the scene and judge whether the effects they’re adding enhance the images being shown.

The psychological effects sound design holds can be incredibly effective when creating an immersive film experience. John Carpenter’s Halloween showcases how sound can transform a simple masked man, slowly walking through the suburbs, into arguably the scariest slasher of all time. I’ve read that many people found Halloween boring and poorly made before the music was added. But with the careful cultivation of synthesizers and piano, Carpenter created one of the most iconic horror films ever made. The main theme is instantly recognizable. Simple yet effective, the piano creates a sense of urgency, while the kick drum mimics the panic of a distressed heartbeat. Slow, creeping synths build into a menacing dread that fades just long enough to make you think you’re safe, only to creep back in. It almost feels like the only form of expression we get from Michael Myers, and it’s truly haunting. Various synth stabs (see what I did there?) and effects crash into the scene every time Michael appears, making his presence feel even more violent and inevitable.

In a similar vein, Mad Max: Fury Road conveys Max’s torment through quick, brash editing and a vocal collage of the victims he failed to save. The layering of these sound effects creates a jarring sense of trauma that shows how deeply Max is shaped by his past. It constantly affects him throughout his journey. It’s not just sound effects; it’s also sound affects (that’s another one lol). The rumbling and roaring of engines, the high-pitched whine of superchargers, and the clash of steel on steel breathe life into the furious machines the characters rely on. These vehicles feel less like cars and more like fire-breathing dragons or some other mythical mount. Exhaust pipes screech with ghastly screams, making the machines seem alive and violent, as if they are extensions of the war-hungry people who drive them. With all that the symphony of chaos that is the war band plays on top of the mechanized beasts.

In most cases, characters need in depth sound design where you must consider how they sound, how they speak, and what their voice represents. You do not want your hero to sound uninspired, your narrator bored, or your villain to come across as a forgettable pushover. My favorite example of powerful character sound design is Darth Vader. Much like Michael Myers, Vader does not need to speak to make his presence known. His machine aided breathing is like the ticking of a bomb, though the countdown remains unknown. Will he erupt? And when he does, it is not just any voice. It is not even the actor who played him on set. It is the thunderous voice of James Earl Jones. That choice alone brings gravity and a menace to the character and helps elevate him into one of the most iconic villains in film history.

Lack of sound can be just as important in creating a meaningful scene. In The Departed, our protagonist William Costigan receives a phone call from a number belonging to his captain, who has just been murdered. This phone should not be ringing. It is the main antagonist, Colin Sullivan, who wants to find William and kill him. William stares at the phone as it vibrates over and over, filling the room with tension. Finally, he answers. William and Colin say nothing. No words are spoken, but everything is understood. Who could this be? Who would have this phone? Why would someone call this number? We, the audience, already know it is Colin. The cat-and-mouse game has reached its peak, and silence is what drives the moment home. Many directors might have added music to build suspense, but the absence of sound lets the viewer sit with the weight of the situation. Sometimes, less truly is more.

Sound design is such an interesting aspect of film, and I think it is often forgotten, especially when it has been done well. Sound levels, dialogue, sound effects, soundtrack, and Foley are all serious elements that should be handled with care. We should not forget the artists who sculpt this invisible dimension in movies. Next time you go to a theater, pay close attention to the sounds your ears pick up and how they contribute to the story. Movies are not just pictures, they are experiences.